Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1978 Wolfgang Borchert: Die Musik in Seinem Leben Und Werk. (German Text). Goetz Fritz adam Seifert Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Seifert, Goetz Fritz adam, "Wolfgang Borchert: Die Musik in Seinem Leben Und Werk. (German Text)." (1978). LSU Historical Dissertations and Theses. 3215. https://digitalcommons.lsu.edu/gradschool_disstheses/3215 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. 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Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 m ust IE1PCRT, OQCfZ FttZTZ AOAH HOLFQANgBOflCHIRTl Oil MUSXK IN |IINEH kElEN UNO MKRKb (BIRMAN TUT) . J* • * ” M . t * ....................... TNI LOUIISANA OTAU UNZVBRIZTY AND . AflieULTURALt ANO ^CCHANICAL' C O t ^ PH*0«# IOTS University Microfilms International w o N z e e s r o a o . ANN a r b o r , m i 4B106 Wolfgang Borchert: Die Musik in seinem Leben und Werk A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and A gricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Foreign Languages by G oetz F. A. S e if e r t B. S., University of New Orleans, 1966 May 1978 Acknowledgement I would like to eaqpress my thanks to Hertha Borchert, the mother of the poet, for the sincere friendship she extended to me. The same holds true for Borchert*s cousin Carl-Heinz Corswandt who also has been extremely helpful in my quest to discover a new aspect of Borchert*s life. Other people who helped me to attain an insight into Borchert*s life were Bernhard Meyer-Marwitz, Gunther Mackenthun and Peter Ruhmkorf. Dr. Rolf Burmeister of the Staats- und Universitats- bibliothek Hamburg let me have access to all materials of the Borchert literary bequest and supplied me with information and copies of docu­ ments whenever I requested them. His untiring efforts in helping me were far beyond my expectations. Through these people and Borchert*s writings the city of Hamburg and its people have become a vexy real and humane place for me. The patience, enthusiasm and advice of Dr. Thomas DiNapoli helped me through difficult times in writing this dissertation. To him and the German Graduate faculty of Louisiana State University go my sincere thanks. Inhaltsverzeichnis I. Einleitung .............................................................................................................. 1 II. Borcherts Verhaltnis zur Musik in seinen verschiedenen Lebensabschnitten A. Elternhaus, Kindheit und Schulzeit ............................................... 5 (Mai 1921 - Dezember 1938) B. Zeit der Lehre und Schauspielunterricht .......................................18 (Januar 1939 - Juni 19^1) C. M ilitar- und N achkriegszeit .................................................................. 33 (Juli 19^1 - November 19^7) I I I . Namen und T erm ini aus dem B ereic h d e r Musik in Prosa und Lyrik und ihre Verwendung A. A uffuhrung und G ruppierung d e r Namen und T erm ini .... 50 1. Begriffe aus der klassischen Musik 2. Begriffe aus der Jazzmusik 3. B e g r if f e aus dem B e re ic h des S c h la g e r s , des Chansons, des Volksliedes und der Marschmusik B. Instrumente, Gattungen, Musiker und Komponisten .... 57 C. Termini aus der M usiktheorie .......................................................... 85 IV. Tanztermini in Prosa und L yrik .............................................................99 V. Musik und Musiktermini in den dramatischen Werken ..... 110 VI. Musikalische Formen und Strukturen in Prosa und Lyrik . 128 VII. Zusammenfassung ...........................................................................................156 Literaturverzeichnis ..................................................................................................... l 6 l A n h a n g ......................................................................................................................................... 168 V i t a ..............................................................................................................................................2h7 * * • • 111 ABSTRACT T itle: Wolfgang Borchert: Die Musik in seinen Leben und Werk. German Text. Goetz P. A. Seifert, Doctor of Philosophy, 1978 Directed by: Professor Thomas J. DiNapoli This study analyzes the importance of music in Borchert's life and its literary expression in his writings. Special emphasis is placed on music as part of the Salchow family, the family of his mother Hertha Borchert. From early childhood up to his death Borchert came into contact with music of every kind through his family, his friendship with Gunther Mackenthun and his cousin Carl-Keinz Corswandt, his study of acting under Helmuth Gmelin and his love for cabarettistic performances. His idol on the theatre stage was Gustaf Grundgens who loved to sing and also wanted to become a conductor and whose in­ fluence on Borchert is especially treated. Of particular interest to the w riter were Borchert's unpublished works; many poems and the three complete early plays Yorick. Granvella and Kaese. These plays of which the last mentioned was to be a kind of musical, and all published works of the Gesamtwerk and the Hachlasz have been investigated in respect to usage of music terminology, its philosophical meaning and such musical structures as the sonata, the iv fugue and the rhapsody underlying his prose and poetry. There are s till over 300 poems by Borchert in existence of which one third use or mention music terminology. The music of Johann Sebastian Bach and of Mozart had a definite impact on Borchert. After the Second World War jazz of the late thirties and early and middle forties also left its imprint on Borchert's style. He did not play an instrument himself other than the flute for a short time in the Hitler-Youth but he was always very interested in finding music which would lend his literary message more strength. For this he leaned toward the chanson of the cabaret. His poems bear witness to that. After his death, several of his poems were set to music, two groups of them into a cycle. Also his story Die lange lange Strasze lang was performed in Hamburg as a melodrama with piano accompaniment. The sound and strength of Borchert's poetic message was never far from music, his ear was tuned to the acoustics of the language. v Meiner Tante Dr. Eva Seifert Gedichte sollen Lieder sein, daxin die Seele singt - W. Borchert Der Mensch, der nieht Musik in seiner Seele hat, kann niemala ein echter Dichter sein. S. T. Coleridge v i I. Einleitung Da Wolfgang Borcherts kunstlerischer Ausdruck hauptsachlich durch die Prosaarbeiten von 19^6 trnd 19^7 bestimmt is t, der aehr konzentriert 1st und durch seine Krankheit unter schwierigen Umstanden geschrieben wurde, sind viele Einflusse seiner Kindheit und Jugend nur unter dem Deckmeuitel des intensiven Front- und Gefangniserlebnisses zu finden. Zu diesen Einflussen zahlen insbesondere die Schauspielkunst, aber auch die der darstellenden Kunst und der Musik. Der musikalische Einflusz bricht besonders in seiner Lyrik der Kriegsjahre durch; nur neunundzwanzig seiner Gedichte sind im Gesamt- werk, einige andere in Tageszeitungen